Eloy is a more established and wizened man first seen taking a practically assaultive way to deal with throwing out evil presences; after 15 years, “three days before the restoration,” we make up for lost time with him venturing to every part of the Spanish field with his granddaughter Alba, in a band deceived out as an exorcistmobile. From the earliest starting point, there’s a decent give-and-take between Eloy, who is forcefully given to his bring about, and Alba, who every so often raises the annoying moral inquiries their practice incites. Still, when called without hesitation, she ends up being generally as furious an exorcist as the old man, however Carreté shrewdly doesn’t attempt to manufacture the strain particularly out of the at this point commonplace rituals; they’re taken care of in serious yet matter-of-actuality style, and one key experience happens offscreen.
The tension forms rather from the creating disclosure that there are more belonging going ahead than expected, with the fascinating wrinkle that the malicious nearness drives the general population around those distressed to end up caught in their own abodes. Something important is coming, fixing to the way that the story happens in December 2012, when the Mayans (recall that them?) had anticipated the world would arrive at an end.